By belting out a series of impressive singles and doubles that spanned genres as well as demographic targets. In fact, the Universal rights battle with Walt Disney, the man himself, over Oswald the Lucky Rabbit is part of what spawned the creation of Mickey Mouse in the first place. You may opt-out by. “But to really get serious traction, they need colossal creativity that not just builds in behemoth ways off their Warner and HBO assets, but also comes out with original, big tent quality,” Schiffer said. “But if there’s one thing I fear about the future, it’s increased insularity and vertical integration. sorry to tell you but disney does not own Warner Brothers. I'll go into this later this month (after I see Pitch Perfect 3), but Universal's 2017 has been another case of them scoring with comparatively unconventional hits and treating would-be counterprogramming as A-level events. The Walt Disney Company Chairman and CEO Bob Iger took part in 'Worlds, Galaxies, and Universes:... [+] Live Action at The Walt Disney Studios' presentation. We have series on 26 different networks and we intend to keep it that way.”. The good news is that all three mega-studios are good at what they do, and they are good at doing different things. “There’s you’re baby boomer-plus demographic. Lionsgate doesn't need market share to drown in Wonder or La La Land money. “The proof is in the pudding. HBO currently has around 140 million worldwide subscribers, including roughly 40 million in the United States. We’ve previously questioned the early roll out and rumored price point ($16 to $17 per month) for HBO Max and explored the challenges these elements might incur as a result. After struggling to erect a sustainable shared cinematic universe that could regularly compete with the MCU, WB is smartly refocusing DC Films on more standalone efforts. i think the confusion has to do with the fact that Disney had a deal with MGM to use their name in a theme park (the contract is over and it went from Disney MGM Studiow to Disney's Hollywood Studios) and some of the MGM properties belong to Warner Brothers. Unfortunately for HBO, over-the-top distribution has upended the marketplace and maintaining the status quo with a carefully curated lineup of quality is no longer a viable strategy. But if Disney squashes Fox, then that vacuum can be filled by Paramount or Sony. There’s not much of a through line between Crazy Rich Asians, A Star Is Born, The Meg, Ocean’s 8 and Ready Player One other than solid ticket sales. Under WarnerMedia head John Stankey, HBO is attempting to change with the times. Universal Studios is, in fact, a longtime enemy and competitor of the mouse. Audiences want options. SEE ALSO: Who Will Replace Disney CEO Bob Iger—And How Will It Be Pulled Off? The conglomerate employs 210,000 people. As a director, Abrams’ five films have a combined domestic gross of nearly $1.7 billion and a global haul of roughly $3.5 billion. All Rights Reserved, This is a BETA experience. In his own way, Abrams can serve as WarnerMedia’s counterpoint to Marvel’s Kevin Feige or Lucasfilm’s Kathleen Kennedy—a big picture thinker with a guiding cross-platform vision. The studio has boasted at least one Best Picture nominee every year this decade outside of 2016, and that depth of variety should serve Warner Bros. well moving forward. While Disney is now behind Warner Bros./Time Warner Inc. in domestic market share, it’s close enough that The Last Jedi should put it over the top. Although WB didn’t produce a single top-10 domestic grosser last year until Aquaman swam into theaters in December, it remained firmly entrenched among the top-three earning studios. Last year, Walt Disney had a jaw-dropping 26.3% of the domestic box office, Warner Bros. had 16.7%, Universal (in a year with little in the way of conventional tentpoles) had 14.1% while Fox had 13.4%. Universal/Comcast Corp. announced on Tuesday that it was the third studio to cross the $5 billion mark in global box office for 2017, coming mere weeks after Walt Disney and Warner Bros./Time Warner Inc. did likewise. In the end, I expect their core competitive advantage of new content creation to beat Netflix overall in original quality programming and allow them to be one of the standing four.”. Take your favorite fandoms with you and never miss a beat. Yes, there is a lot more at stake than just theatrical moviegoing. December’s The Rise of Skywalker, which closes out the main Star Wars saga for Disney, is sure to add to that total. The multimedia franchise has grossed more than $3 billion over it lifetime, including $1.5 billion at the global box office. Live Action at The Walt Disney Studios' presentation. That involves upping the cable network’s content budget by $500 million and increasing original programming by 50%. Abrams and Bad Robot have successfully managed to revive three blockbuster franchises—Mission: Impossible, Star Trek and Star Wars. Paramount will have to figure out how to survive in a world where movie stardom and prestige doesn't mean much to general theatrical moviegoers, but I'm rooting for them to pull it off. Sony and Warner Brothers still have some IP they've kept away from Disney. I've studied the film industry, both academically and informally, and with an emphasis in box office analysis, for nearly 30 years. So last year, those top four studios controlled nearly 71% of the domestic box office. Universal has done with smaller-scale would-be counterprogramming (Lucy, Trainwreck, Straight Outta Compton, Get Out, Atomic Blonde) that has been successfully sold as A-level event movies while offering a few big-deal franchises (Fast and the Furious, Jurassic World and the Illumination brand) at a price. We get it: you like to have control of your own internet experience. The praise was merited. Does Disney own Universal Studios? That gives them a more general audience base, and the more people you can reach, the more money you’re going to make.”. Plus, after years of rumors, WB has finally green lit another Matrix movie. “Because of the range of content they have and the age of their content (it goes back a ways), they could have a very general appeal that could attract a generational fan base and not just a subset based on genre,” Patrick Millsaps, film producer and founder/CEO of entertainment firm Londonderry, told Observer. How? A future adaptation of Cursed Child that reunites the original Harry Potter cast is a strong $1 billion bet if it ever gets made. Again, a variety of genres and demographics that stands in stark contrast to the PG to PG-13 focus area of Disney+ and a wealth of content that could eventually outweigh cost concerns in the minds of consumers. Domestic Television Distribution, Warner Bros. International Television Distribution, Cartoon Network Latin America Original Productions, Time4 Media - formerly Times Mirror magazines group purchased from Tribune Company, sold to, The Parenting Group Inc. - Time, Inc. magazine group; sold to Bonnier and World Publications, HBO NYC Productions (formerly called HBO Showcase) — folded into HBO Films, Interstate Television - founded in early 1950s as the TV arm of Allied Artists, became Allied Artists Television in 1960s and was folded into Lorimar with the rest of AAPC in 1979. It has film, television, cable networks, and publishing operations. Warner Bros. owns a 25 percent stake in movie ticket company Fandango. Well, these are the things that were to happen. I've studied the film industry, both academically and informally, and with an emphasis in box office analysis, for nearly 30 years. From 1990 to 2019, the studio has distributed four Best Picture-winning films, second behind only Universal in that span. Bad Robot Television is responsible for hugely popular series such as Alias, LOST, Person of Interest and Westworld. But advertising revenue helps support our journalism. Now market share isn't the only measurement of success, and at the end of the day if a studio's slate is profitable than market share is merely about bragging rights. Yes, buying Lucasfilm and Marvel was partially about standing on the shoulders of others, but the production values, casting and relative big-scale entertainment value speak for themselves. There’s a reason Disney, Netflix and Apple were also hot on his heels. A bulked up roster of originals will help avoid churn and aid WarnerMedia’s subscription video-on-demand efforts which require a significant infusion of content to maintain. The studio now easily outpaces its competitors at the box office, and the Mouse House is positioned as a dangerous streaming threat. First and foremost, Walt Disney is currently running up 18.4% of the total domestic box office as Warner Bros./Time Warner Inc. leads with 20.1%, Universal (counting Focus Features) is third with 15.8% and Fox and Fox Searchlight now make up 13% of the 2017 North American theatrical market. What if Warner Bros. owned Nickelodeon instead of Viacom? Warner Media, LLC (formerly Time Warner Inc.) is a media conglomerate that is a division and subsidiary of AT&T and headquartered in New York City. Cries of monopolistic operations and seek-and-destroy tactics grace the lips of detractors as the rest of the industry struggles to keep up. Perception and reality exist in a near constant state of exclusivity, but in the rare instances of intersection a consensus seems to emerge. HBO Max users won’t want for exclusive options; Reese Witherspoon’s Hello Sunshine production company and uber-producer Greg Berlanti have both signed film deals with HBO Max. In the wake of Game of Thrones‘ conclusion, HBO has several ambitious big-budget series launching in the near future to fill the void. Sure, most of their biggies come from animation, acquired IP or live-action movies stemming from their animation legacy, but most folks walk into a Disney movie expecting it to be "pretty good."